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Lindsay Ell

Lindsay Ell

Set List

from The Project – released 08/11/17
Wildfire
Castle
Waiting on You
Champagne (with snippets of Britney Spears – “Baby One More Time” by & 2Pac – “California Love”)
Superstition (Stevie Wonder cover)
Space
Criminal

Guitar Battle with Brian Smith (snippets of Led Zeppelin – “Stairway to Heaven”, Lynyrd Skynyrd – “Sweet Home Alabama”, AC/DC – “Back in Black”, Aerosmith – “Walk This Way”, Cream – “Sunshine of Your Love)

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bio
Canadian country singer, songwriter, pianist, and guitarist Lindsay Ell was born in Calgary, Alberta on March 20, 1989. Music was it for her from the beginning, and she started playing piano at the age of six, switched to guitar at eight, and by ten she was writing songs and perfecting her guitar skills at bluegrass camps, soaking up all the country music she could. By the time she met Randy Bachman when she was 13 years old, Ell had developed into a dynamite electric guitar player with a sweet and easy country-pop vocal style, a female counterpart to guitar-slinging country artists like Keith Urban and Brad PaisleyBachman became her mentor, introducing her to the work of various jazz and blues guitar players, and Ell fell in love with the blues, studying it along with music by the best rock guitarists, from Eric Clapton and Jimi Hendrix to Stevie Ray Vaughan and Derek Trucks. Soon she was sharing stages with the likes of Buddy Guy and others, always bringing her own vibrant mix of country and gritty electric guitar. Bachman produced her first album, Consider This, which was released on Bachman‘s own Ranbach Music label in 2006. Her second release, 2009’s Alone, had a more acoustic veneer. Signing with Stoney Creek Records, she released the infectious country single “Trippin’ on Us” in the fall of 2013. Two more singles — “Pickup Truck” and “Shut Me Up” — followed in 2014, both of them reaching the Top 20. Another single, “By the Way,” arrived in 2015, but 2016’s “All Alright” reached Canada’s Country Top Ten. Her debut EP, aptly titled Worth the Wait, arrived in the spring of 2017 and was followed later that summer by her first album, The Project.

bio
My dad will tell you that when I was little, the car radio had to be on the country station,” Lindsay Ell explains. “If my older brother touched the dial, I would beg him to turn it back. It got to the point that if they were listening to something else, all I had to do was get in the car and they’d automatically flip over to country.”

Coming from a family with deep musical roots, the Stoney Creek Records’ artist started playing piano and guitar at a very early age. “I learned how to play guitar traveling to country-bluegrass camps with my dad, and knew right from the beginning of my strong passion for country music.”

The Calgary native was discovered at 13 by BTO and The Guess Who’s Randy Bachman (“American Woman,” “Takin’ Care Of Business”). “Randy learned guitar from master jazz guitarist Lenny Breau, so I dove head-first into this world of blues, jazz and rock guitar – learning all these different solos, switching radio stations and trying to get an idea of where all those techniques come from. I was listening to Hendrix, Stevie Ray Vaughan, Clapton, Derek Trucks and all those incredible guitar players.”

Lindsay’s passion and study has served her well, leading to several unique opportunities, including an opening slot with blues icon Buddy Guy; however, her first songwriting trip to Nashville was the catalyst that brought her early affinity for country full-circle. “When I got here, it was like I was home,” she says. “I didn’t need to put on a facade of who I was or wasn’t. And I finally fell back into my roots. Coming to Nashville brought me to who I am and who I’m meant to be.”

Because it is rare, she knows her six-string prowess is not the only focal point, but an accent to her vision as an artist. “There aren’t a lot of girls who play electric lead guitar, and it can be a defining thing,” she says. First and foremost, I want people to hear me and understand my voice as a country music recording artist. When they come see me, I’d love it if they were impressed at my guitar and piano playing. But by that point, hopefully they understand the artist behind it all has a lot of different sides to her music.”

To get to that point, she knows radio and fans will be key – and she can’t wait. “Having the chance to share my music and show people how ready I am continues to be one of the most exciting steps I’ve made yet.”

Having spent a decade learning about the music industry from the front of a stage, Lindsay Ell is more than ready for that step – however big or small. “Playing live, honing my craft and developing as performer before taking my first serious try at being a recording artist and getting radio airplay gives me a foundation a lot of artists just don’t get. I’ve had the cords fail, the monitors shut down and mics die. I’ve seen all kinds of crowds … and no crowd at all. I feel ready as a singer and a musician. I have confidence as a performer. I’ve been writing for years and, since moving to Nashville, have found how best to communicate who I am. I’m comfortable in a conference room with six people or onstage opening for Keith Urban in front of thousands. It’s really not that different. Both are exciting and a little humbling. Either way, I’m ready to go.”

bio
For rising star Lindsay Ell, her debut album on Stoney Creek Records has been a long time coming … but you can’t rush personal discovery. Sent on a mission to unleash the vibrant, soul-bearing country artist long predicted by fans and critics alike, Ell’s journey is now complete – and she calls the result simply, The Project.

Comprised of 12 gripping, heart-on-her-sleeve tracks and produced by Sugarland’s Kristian Bush, The Project is the musical calling card Ell’s been working toward her whole life – from her childhood in Calgary, Alberta; through her time opening shows for blues legend Buddy Guy; and even with attention-grabbing country singles “Trippin’ On Us” and “By the Way.”

“I feel like I’ve finally found myself,” Ell beams about The Project. “I’m a better guitar player, I’m a better singer, I’m a better songwriter. I’m just a different artist, and I’ve never felt about music the way I do now.”

Grooving, diverse, and emotionally charged, it’s easy to hear what Ell means. The Project reveals every aspect of her abundant talent – from her fiery guitar prowess to her crisp, inviting vocals … and even her new knack for vulnerable song craft.

It’s funky, bluesy, and full of pop-country sweetness, but also delicate and – at times – brutally honest, as Ell’s heart is placed front and center on each track. She embraces the anything-goes fun of country’s future but also holds fast to its traditions, focusing on real instruments and co-writing nine of The Project’s songs to create something both unique and self-assured.

For the first time, Ell’s music feels 100 percent “Lindsay,” and part of the reason for that is the growing up she’s done over the past few years.

The young star has traveled the world with The Band Perry and Luke Bryan, showcased her multi-instrumental dexterity as one of CMT’s Next Women of Country, and is currently trading guitar solos with Brad Paisley on his 2017 Weekend Warrior World Tour. Plus, she and country radio personality Bobby Bones went public about falling for each other, leading to an outpouring of support and inspiring her to open up like never before on her critically-acclaimed 2017 EP, Worth the Wait.

“The album has helped me dig even deeper into that identity,” she explains. “With Worth the Wait I had something to say, writing real songs with real lyrics. But now I’ve kicked it up a notch. I still have really important lyrics, but The Project has groove and lots of guitar solos – I let my musical brain free.”

Crediting Bush with making her ask what kind of artist she really wanted to be, Ell says “You can tell when it clicks into gear.” Bush gave her a deceptively simple task before getting to work on The Project – recording her own version of her all-time favorite record, note for note and completely alone. For Ell, that record is John Mayer’s Continuum, and after locking herself in a studio for two weeks straight, she had a musical epiphany.

“It made me realize that I love music when it’s great, and simple,” she says. “When it’s great, it can stay simple – it doesn’t need to be that complicated.”

Well aware of Ell’s reputation as one of country’s most electrifying entertainers, Bush also sought to keep things simple. He recorded her with a live band as much as possible, letting her do what she does best.

“The funk aspects, the blues and the rock aspects are really where my influences lie,” she says. “When I pick up a guitar, that’s what makes my heart smile. But I’ve also gotten to a point in my life – professionally and personally – where I’m just more open, and I’m not afraid to talk about it in songwriting.”

The Project’s first single, “Waiting on You,” is the perfect combination of those traits, basking in slippery guitar grooves and real-life romantic optimism. Longtime fan favorite “Criminal” follows suit, swaying under the invincible armor of fresh love, while the wounded “Worth the Wait” holds out hope that some things really are meant to be.

“Champagne” shows off Ell’s personal swagger – complete with a strutting horn section and a message about the proper way to treat a woman. “Mint” features a refreshing, carefree beat, and the sugary pop of “Good” reveals Ell’s cautious joy as her dreams come true. “It’s so scary for things to work out,” she says with a nervous laugh.

Meanwhile, “Wildfire” burns with the same passionate intensity Ell displays onstage, “Space” takes a vocally-stunning look at long-distance relationships – whether physical or emotional – and “White Noise” explores the glazed over, hallow feeling of a bad breakup. That powerful track was written by hit makers Kelsea Ballerini, Ross Copperman, and Josh Kear.

“There’s a rawness in a slow groove like that,” says Ell. “The vocal is gritty and you’re talking about a heart being broken, trying to think of anything but that, and everything else in life seems like white noise. I feel like that’s something we can all connect to.”

Another track many will relate to – and one which speaks directly to The Project’s theme of self-discovery – is “Just Another Girl.” Ell wrote the tune with Shane McAnally and Josh Osborne, but even with a bouncy country beat and sunny steel guitar, its lyrics are deeply meaningful. It’s all about making sure your true calling doesn’t slip away.

“I really believe everybody has their own story and their own path of brilliance ahead of them,” Ell explains, hinting at the her own winding journey. “It’s a song of not settling for things, careers, or even emotions that you’re having, just because they happen to you all the time. It’s about knowing you’re meant for something more special than that.”

With her long-awaited album debut, Lindsay Ell has discovered what she was meant for, and who she really is. Her next “project” will be to pass that message on.

Well aware of Ell’s reputation as one of country’s most electrifying entertainers, Bush also sought to keep things simple. He recorded her with a live band as much as possible, letting her do what she does best. The funk aspects, the blues and the rock aspects are really where my influences lie, she says. When I pick up a guitar, that’s what makes my heart smile. But I’ve also gotten to a point in my life –professionally and personally –where I’m just more open, and I’m not afraid to talk about it in songwriting. The Project’s first single, Waiting on You, is the perfect combination of those traits, basking in slippery guitar grooves and real-life romantic optimism. Longtime fan favorite Criminal follows suit, swaying under the invincible armor of fresh love, while the wounded Worth the Wait holds out hope that some things really are meant to be. Champagne shows off Ell’s personal swagger – complete with a strutting horn section and a message about the proper way to treat a woman. Mint features a refreshing, carefree beat, and the sugary pop of Good reveals Ell’s cautious joy as her dreams come true. It’s so scary for things to work out, she says with a nervous laugh. Meanwhile, Wildfire burns with the same passionate intensity Ell displays onstage, Space takes a vocally-stunning look at long-distance relationships– whether physical or emotional – and White Noise explores the glazed over, hallow feeling of a bad breakup. That powerful track was written by hit makers Kelsea Ballerini, Ross Copperman, and Josh Kear. There’s a rawness in a slow groove like that, says Ell. The vocal is gritty and you’re talking about a heart being broken, trying to think of anything but that, and everything else in life seems like white noise. I feel like that’s something we can all connect to. Another track many will relate to – and one which speaks directly to The Project’s theme of self-discovery– is Just Another Girl. Ell wrote the tune with Shane McAnally and Josh Osborne, but even with a bouncy country beat and sunny steel guitar, its lyrics are deeply meaningful. It’s all about making sure your true calling doesn’t slip away. I really believe everybody has their own story and their own path of brilliance ahead of them, Ell explains, hinting at the her own winding journey. It’s a song of not settling for things, careers, or even emotions that you’re having, just because they happen to you all the time. It’s about knowing you’re meant for something more special than that. With her long-awaited album debut, Lindsay Ell has discovered what she was meant for, and who she really is. Her next project will be to pass that message on.

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